The goal with this game was to create something that was easy to play, but not simple. “A hard drinker from Hokkaido who develops Bloody Roar in pursuit of the perfect game he’s also a top-class Bloody Roar player who goes by the title ‘Beast King'”.įighting games tend to become more core-focused with every entry, but I don’t think that’s the best way to reach a broad audience, and so I’ve worked to avoid falling into that same trap.
This interview with Hudson director Kenji Fukuya covers the making of the 2000 arcade & PlayStation 2 game Bloody Roar 3, the critical and commercial apex of Hudson & Raizing’s flashy and outlandish series of 3D fighting games centered around the unique gimmick of “beastorization”, with a particular focus on the developers’ efforts to refine the series’ unique traits while straddling the lines of depth and accessibility.Īlso included is an interview with Fukuya concerning the results of an online survey conducted shortly after the release of the PS2 version, in which fans requested the animals they’d most like to see represented in a future game several of the more popular suggestions, as well as Fukuya’s own choice, would appear in subsequent games.Ī quick note: the nomenclature around Bloody Roar’s characters and transformations differs slightly between games and localizations I’ve chosen to stick with the terms “beastorizer” and “beastorizing”, respectively, because my life has been immeasurably enriched by adding these words to my vocabulary and I believe yours will be, too.